 How can an event hang so long in the minds of the people who witnessed it, that it can be completely forgotten about and still affect every aspect of our different cultures all around our world? They saw it in the sky. When the gods assembled, the great god, the light that shone great over the golden epic, the watchful eye of the Lord, the cosmic mountain, the tree of life, the squatter man or in the Jewish tradition, the menorah. Wait till you hear this. One of the two reliefs on the Ark of Titus, depicting the triumphal procession held in Rome in the year 71, shows Roman soldiers carrying the spoils of war through the city, including the famous menorah and other treasures of the destroyed temple. These were put on display in Rome in the Temple of Peace, not far from the Ark, and had been lost to history. The menorah is first mentioned in the Biblical book of Exodus, according to which the design of the lamp was revealed to Moses by God on Mount Sinai. The apparent candlestick holder was to be forged out of a single piece of gold and was to have six branches, three out of one side and three out of the other. The cup atop the central shaft, which is somewhat elevated to signify the Sabbath, was flanked by three lights on each side. It was forged by the craftsman Bezalel and put in the tabernacle, and its cups in the shape of flower blossoms suggested the tree of life. The great disc in the sky, the all-seeing eye above cosmic mountain, evolving first from the pillar to the tree of life, manifesting into the squatter man, and eventually radiates as a ladder, their stairway to heaven. This was the global event from which our stories and traditions began. The Temple of Solomon, according to the book of Kings, had ten golden candelabras, five on each side of the entrance to the inner sanctuary. During the early modern period, the menorah as symbol gave way to the star of David, but in the 19th century it was adopted as the symbol of the Zionist. The seven-branch candelabra depicted on the Ark of Titus only became the official emblem of the state of Israel in the 20th century. For many Jews in antiquity, the menorah's seven branches represented the five visible planets, plus the sun and the moon, and its rounded branches suggested their trajectories across the heavens. One ancient Jewish thinker Philo of Alexandria compared the harmony of the menorah's branches to an instrument of music truly divine. Philo of Alexandria, writing during the first third of the first century, directly relates the shape of the menorah's rounded branches to the trajectory of the planets around the sun. He writes that the approach to them is from the side and the middle place is that of the sun. But to the other planets he distributed three positions on the two sides of the lampstand in the superior group are Saturn, Jupiter and Mars, while in the inner group are Mercury, Venus and the Moon. Philo is the first author to provide context for the rounded branches, associating them with his larger astral concerns. This approach harkens back to an association of the lamps of the lampstand with the planets that first appears in the prophet Zechariah already during the sixth century before the birth of Christ, who described the five visible planets, plus the sun and the moon, as the eyes of God known as Yahweh to the Jews. An Ecclesiastes 4, 10, it reads that these seven are the eyes of God which range through the whole earth, and the life of Moses Philo goes further in associating the menorah with the cosmos. The candlestick Moses placed at the south of the tabernacle, figuring thereby the movements of the luminaries above. For the sun and the moon and the others run their courses in the south far away from the north, and therefore six branches, three on each side. Issue from the central candlestick, bringing up the number two seven, and all these are set seven lamps and candle bearers, symbols of what the men of science call planets. For the sun, like the candlestick, has the fourth place in the middle of the sixth and gives light to the three above and the three below it, so tuning to harmony and instrument of music truly divine. The rounded branches thus give expression to this music truly divine, supporting the planets in their paths, even as they support the lights. A generation later Josephus explains the branches in a similar manner, in the Jewish war he describes the seven lamps such being the number of the lamps from the lamp stand, represent the planets. He returned to this theme around 90 AD in his magnum antiquities of the Jews, where Josephus ostensibly describes the menorah of the tabernacle. Facing the table near the south wall stood a candelabrum of cast gold, hollow, and of the weights of a hundred mine, this weight the Hebrews call Kancharis, a word which translated into Greek denotes a talent. It was made up of globules and lilies, along with pomegranates and little bowls, numbering 70 and all. Of these it was composed from a single base right up to the top, having been made to consist of as many portions as assigned to the planets with the sun. It terminated in seven branches regularly disposed in a row. Each branch bore one lamp, recalling the number of planets, the seven lamps faced southwest, and the candelabrum being placed crosswise. Philo and Josephus explain the menorah as a representation of the cosmic order. This interpretation might have seemed quite reasonable to a Roman audience, and we are reminded, for example, of a silver statuette of the goddess Tutela, the heads of seven planetary deities set on an ark above her in the heavens. Roman readers and viewers may have made this connection as well. Similarly, each of the branches of the menorah supports one of the heavenly luminaries, Zachariah's eyes of the gods. The pattern for the menorah must therefore begin with the vision of the cosmic mountain. Iminating the points of light at the top. Radiating plasma, a stunning petroglyph found in Siberia, shows us overwhelmingly that this was the case, encompassing the squatter man theory. You can clearly see the menorah is yet another representation of the Taurus field, the squatter man. Similar examples are found in Mexico, India, and even in the Armenian highlands. In James' church words lost continent of Mu, we meet Narayana, the seven-headed serpent, the symbol for the creator and the creation, and it matches the menorah with striking detail. It doesn't matter which culture or religion you belong to, or how deep your belief in either God or the devil has become, for all these stories and humankind's everlasting perception have manifested in the minds of the observer. Their perceptions are responsible for what we believe in today. Our gods, our beliefs, of course, there must have been an intervention. Our knowledge about where our knowledge has stemmed is another classic enigma that is bound with no conclusion. This means there must have been an effort to teach people by some universal source, maybe by cosmic. Harmony is the accessing of the occasion, but in terms of gods and religion, this is it. This is the path to truth and it's one that billions of people need to know about. The Greeks, the Hindus, the Mayans, and the Aboriginals are all telling the same stories. They tell us it was God, the many gods. They say they saw it in the sky and they begin the documentation in the shelter of the caves before we re-emerge and begin to remember the time when our kind were forced back into the Earth when Kronos went supernova, the God whom once shone over the Golden Epic. In a modern translation from the original Hebrew, the passage in which the phrase Lucifer or Morningstar occurs begins with the statement, On the day the Lord gives you relief from your suffering and turmoil and from the harsh labor forced on you, you will take up this taunt against the king of Babylon. How the oppressor has come to an end, how his fury has ended. After describing the death of the king, the taunt continues. How you have fallen from heaven, Morningstar, son of the dawn. You have been cast down to the earth. You who once laid low the nations, you said in your heart, I will ascend to the heavens. I will raise my throne above the stars of God. I will sit enthroned on the mount of assembly on the utmost heights of Mount Zefon. I will ascend above the tops of the clouds. I will make myself like the most high, but you are brought down to the realm of the dead, to the depths of the pit. Those who see you stare at you, they ponder your fate. Is this the man who shook the earth and made kingdoms tremble? The man who made the world a wilderness, who overthrew its cities and would not let the captives go home? According to Chronos, who is collaborating with the Lost History Channel in this series, they're telling you the Morningstar destroyed cities and shook the earth, made the earth a wilderness. They imagine Venus was cast out because Venus wanted to be the most high in the assembly of the god. Then they attempted to wipe out remnants of the disaster. By the way, disaster means bad star. They campaigned to chop down astral poles everywhere, which of course symbolize the tree of life or the sacred pillar that descended to the earth from the ancient assembly. Isaiah 14, the only text in the Old Testament that mentions the word Lucifer, the light bearer, and what has come down to us is a fabrication of the truth, designed for mass control. The best mind control is when it's voluntary. You better act right or else. The Lost History Channel is not trying to take away people's hopes, only searching for truths. In the minds of the Lost History Channel, the Big Bang Theory is ridiculous. The infinite universe itself is the Creator God, and we are here through its creative intentions, through forces we don't have a way to understand. But we can break the chains of false beliefs that were initiated through the ancient catastrophes. We can embrace and marvel at the privilege of this life experience and never discount reincarnation. Pyramids and temples are built because of the Age of the Gods. They serve a cosmic function of attempting to restore the break, the break of the separation of heaven and earth. Christmas trees is one example of the cosmic mountain, with the star radiating at the top. The menorah is no different. It's clear from the earliest of release in the petroglyphs, assimilating into art and culture before efforts were made to recover the thoughts of the memories of the time when Earthlings saw something in the sky. But what do you guys think about this anyway? Comments below and as always, thank you for watching.